BA (Hons) Photographic Arts
Mary Scott E Journal - maryscott-photography.tumblr.com
(Or working title - how and why did this title develop?)
I have not yet got a finalised title for this project, however I plan for it to involve the date, day and/or location of my images, as this will be important to give some more insight into what they are and where they were made.The title may also include the words sea and cyanotype in some way, due to the fact that without this information, people often mistake my work for drawings or paintings.Ā
I am currently playing with the idea of captioning each individual image with even further detail, such as the date and time that each specific print was made. So for example, my project may be called something similar to āSea Cyanotypes - November 2018 - March 2019.ā And each caption may be something like ā04.12.18 - 14:22.ā These ideaās are still far from final, but I am aware that the title of my project is extremely important, so that the technicalities and process of the project are noticed by my audience.Ā
(What methods have you used during this phase of the project and how have they helped you develop your ideas and inform your major project proposal?)
My photographic practice has almost consistently used the cyanotype process now for 2 years, so with this as a starting point I initially began to experiment with the technique further than I have done previously. I bought my own chemicals to use at home, to practice the technique using sunlight instead of the UV light machine at uni. From doing this at home using plants, I realise I could try using water, to wash off parts of the chemical, and expose the rest. I then started researching artists who have done similar things; people such as Susan Derges and Meghann Ripenhoff, and realised this technique could make a really interesting large scale project.Ā
My work has also been centred around the sea since I can remember, growing up in Bournemouth and using the sea as my place of comfort since I was young. In recent years the sea has shown me a darker side, taking a member of my family, and proving just how powerful it can be. This strong relationship I have now developed with it, makes me want to push my limits, and make a project that sees me interacting both physically and mentally with the water. It then seemed obvious to take my cyanotype water experiments and try them out using the sea. This worked so well, that I plan to keep perfecting this technique for my final major project, until I have a series of slightly abstract, large scale cyanotypes.Ā
(What have you achieved through the development of your pilot project/s? What have you learned from the process? Identify the main concepts that might direct or drive your major project.)
From practicing this technique, I have undoubtably come across some problems that Iāve had to learn from and overcome. The main one being that I need bright, direct sunlight, and I have been making this work in the hight of the British winter, where sunlight isnāt an everyday occurrence. I also have the struggle of needing to get to the seaside, from London, whenever the possibility of the sun appears. This therefore isnāt reliable or cost affective, and means that a lot of my project will need to be made in a couple of months time, however, it has still been possible to make quite a few prints, despite the weather.Ā
Another hurdle I have overcome is the fragility of the technique; with the strength of the sea against delicate paper, I have experienced some rips and tears in my work. However, upon feedback, I am okay with this to continue, as Iām letting nature dictate how my prints come out, and imperfections caused my the sea, sand, wind or any other surroundings will eventually add to, and complete my project.
I am glad to have identified these problems early, as I now know what to do to overcome them, and I feel prepared for my major project, and the obstacles it may throw my way.Ā
(Has a consideration of Context and Audience made you think about your project in a particular way? Have you been aware of the histories, conventions and audience expectations of particular contexts? Have you considered different contexts and how have you responded to them?)
Iāve had struggles with this project in terms of audience, and audience reaction, as a lot of people canāt recognise my abstract cyanotypes as being photography, or even cyanotypes. I constantly get asked if theyāre drawings, paintings or spray painted, and even if the cyanotype process has been recognised, the fact that itās an image of the sea, is almost never apparent to an audience.
These audience reactions are why I have decided itās necessary to have a clear title to my project, and possibly a description, or video of the process alongside, to make it clear exactly how Iāve made it.Ā
Production and Presentation
(Discuss the production methods you have been exploring through your pilot project. What effects do these different approaches/ visual strategies have on the work?Ā What choices have you made in the refinement of your visual approach and why? Is the approach you have chosen effective in communicating your ideas to the identified audience?)
The main visual method I want to keep consistent in this project is the composition of the way in which the water hits the paper. The only other artist Iāve found that makes work similar to my project is Meghann Ripenhoff, and she allows the water to hit the paper to create a splash. To keep my visuals different from hers, but also in line with the type of seascape photography I usually make, I want to create a linear wave across the centre of the page on each print, and hopefully have it displayed in a line, joined up, at the exhibition.Ā
Another visual I am still experimenting with is the material in which I am printing on. At the moment I am using paper, and experimenting with different qualities and textures. However, at the very beginning of the process, I was adamant that I want to print onto fabric and have more of an instillation piece, with large pieces of fabric the viewer could touch and walk through. If I have time, I will still experiment with this idea, or at very least, the idea of fabric hanging on the wall.Ā
Visual References / Bibliography
(List the key visual and critical references you have explored during the research process. Discuss how useful these references were for the project and what you learned from them).
As mentioned, my main reference for this project is cyanotype artist Maghann Ripenhoff. As she uses water and the sea to create cyanotypes. I have tried not to reference her too often when making my work, as I am conscious of my project being too similar to hers, however her technical process has been a big part of my research.Ā
Another artist in which I constantly refer to in my photography, when photographing the sea in particular, is Hiroshi Sugimoto and his famous project āseascapesā. I have always attempted to capture the horizon with the simplicity that he does, and in this project I am almost trying to mimic that, but in an abstract manner, making him a less obvious reference.Ā
I always try to read to influence my work, reading poems about home, the sea and nostalgia, as well as writing my own. This helps me feel a connection to the places I capture, and understand other peoples connections to these places too.
